‘The narrator of Chien de printemps could not have chosen a more mysterious and elusive subject for his biographical project than Francis Jansen.’ Discuss. This novel opens up with the simple straightford lines « J’ai connu Francis Jansen quand j’avais dix-neuf ands, au printemps de 1964, et je veux dire aujourd’hui le peu de choses que je sais de lui. » the author’s intent is to put down in black and white all his memorys of jansen. He wants to catagorise, and organize his memories and by making them tangiable he feels that in doing this they will be reaffirmed. His time spent with jansen was so brief, yet significant and he wants to validate his memories to try and gain some closure from this elusive mentor figure that he had known when he was young. The author always had a passion for organizing things, and we can see this as he volunteers himself to categorize all of jansens photos which are strewn haphazard between 3 suitcases. it was while doing this job that the author began to get close to jansen and admire him immensely. This novel has no chapters, it is formed from a series of memories, each of different length all strung together and giving us snapshots of information from the author’s past. In fact, reading this novel is much like leafing through a photo album. In a photo we see a frozen memory that is boarded on all sides and in this novel we are given snippets of information here and there and must essentially fill in the blanks ourselves to complete the story. Jansen is a very mysterious character throughout this novel and we never gain a true insight into his complex personality. From the mere glimpses we are shown we may deduce that jansen is a very solitary man who enjoys his own company. He is minimalistic in his décor and does not care for material possessions. We can also see that he is a different man from who he used to be. It is clear to us that jansen has lost his spark, his enthusiasm and his joie-de-vivre. As the story progresses...

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...retrenchment in certain regions and products.
In our 2013 report, Survival of the Fittest
(https://www.bcgperspectives.com/content/articles/financial_institutions_corporate_strategy_portfolio_management_global_capital_markets_2013_survival_of_the_fittest/),we asked whether the CMIB industry could survive in the long term. Our answer then, as it is today, is yes, but tall challenges remain. In this, our third annual report on the global CMIB business, we take a deeper look at those challenges, particularly regarding the core dynamics—revenues, regulations, clients
—that influence the six business models that we feel are most viable. Our aim is to provide food for thought for senior management teams as they refine their strategies.
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Market Developments
We see two key challenges facing CMIB players. First, revenues have now become a scarce and volatile resource, pressuring short-term ROE. Second, regulation continues to take its toll and will remain a critical element as banks address cost structures, revenue models, and strategic positioning. Both revenue and regulatory dynamics will affect what we see as the six core business models in the CMIB industry.
The Revenue Challenge
ROE in the CMIB industry fell to 11 percent in 2013, a decline of 1 percentage point from the previous year. This level, which remains at or just below the typical cost of equity (10 to 12 percent), might seem relatively stable. But given the trend toward combined...

...﻿
“Our only rule was very simple: No idea or image that might lend itself to a rational explanation of any kind would be accepted.” Luis Buñel had this to say about his first film, Un Chien Andalou (1929), made during the heart of the surrealist period. It was a film that toyed with the corruption of reality, time, and symbolism (Turvey, 2011). There are various marks though out the film that Buñel acts out, including the slicing of an eye, the reveal of ants crawling out of the palm, the mother’s armpit and the hint of the moth. Upon repeat viewings, one begins to see that this entire film represents a dream in the mind of real-life, modern-day Oedipus (Stead, 2011).
The short film starts off with “once upon a time,” and a man played by Bruñel whetting his straight razor. He stares blankly at the moon, to see a thin cloud slicing across its surface. Just as the audience is seemingly spared the gruesomeness of the actual event by this visual metaphor, the razor slices the eye in close-up, spilling its jelly-like contents. The emblematic reference to Oedipus when Apollo gives him the strength to carve his own eyes out of their sockets, to be able to see the unconscious and beyond what is in his direct vision.
As clarified in Stead’s, “Un Chien Andalou – Kill your Symbols,” the following inter-title, “Eight years later,” shows the out of control nature of time within the dream (2011). The audience is introduced to an overgrown child in a...

...﻿CONFOMITY IN DE LA SALLE UNIVERSITY- MANILA ID 114 STUDENTS
Conformity in De La Salle University-Manila ID 114 Students
Melissa U. Azarraga
Hannah Marie A. Mayo
De La Salle University- Manila
This research was completed in partial fulfillment of the requirements in ENGLRES (English for
Research)
Correspondence concerning this article should be addressed to Melissa U. Azarraga, Hannah
Marie A. Mayo of De La Salle University- Manila, 2401 Taft Avenue, Manila.
Contact: *******
*******
Every year, different universities including De La Salle University- Manila (DLSU-M) accepts freshman students from different schools all over the Philippines. Yearly, different freshman goes to DLSU-M to take the degree course they want to pursue. Upon entering a new school and socializing with different students from different places not just in the Philippines but from other countries as well, students tend to adapt a new behavior called conformity According to Cialdini and Goldstein (2004), throughout the decades of investigation of conformity it is apparent that an individual’s inclination and drive to mimic or copy their surroundings is sometimes so swift and unconsciously done as if it was their immediate reflex to respond. With these facts stated, the authors found that most students tend to mimic or conform behavior...

...alternate reality we exist, without control or complete possible actuality.
Both film and its constituent element, the photograph, behold a certain level of the surrealism found in dreams through the raw creative boundaries. Bazin realizes the analytic obscurity that arises between physical truth and the imaginary. The filmmaker is able to blur the black and white rules on any whim or fancy to achieve something completely nonsensical by strict nature but absolutely genuine in cinema. “A hallucination that is also a fact” substantiated by the institution of the picture itself. But distinctive from sheer phantasmagorical parallels, several essential qualities of the motion picture are discernible in dreams.
The subject of the film Un Chien Andalou strives to portray a reverie experience to the viewer through non-coherency and illusory fashions. We are thrown to the capricious tendencies of the dream, erratic in nature. Yet, the film, as dreams, seems to convey a sort of uniformity within itself, between the characters, and embedded in the elusive plot. Random shifts in scenery that so often speckle our nighttime adventures seem to be normal in the environment of the film. One will also notice the seemingly nostalgic overlay that tints dreams and films alike. It seems as if we recall the instances as we recall our viewing experience in a sort of sepia toned memory. However the character familiarity and omniscient quality of a dream cannot be translated and...

...DE BEERS
AND THE U.S
ANTITRUST LAW
PRESENTED BY:
Anuj Vadehra:PGHRM11
Honey Bohare:PGHRM27
Rajul Khare:PGHRM49
Mehec Chopra:PGHRM38
Prachi Gera:PGHRM46
DE BEERS – THE SHINE
 One of the world’s most successful longest running
monopoly
 Controlling force of the international diamond market
 Launched the “millennial” campaign in 1999; aimed at
selling “De Beers diamond” rather than a regular diamond
THE DUST BENEATH
THE ROCK
 De Beers marketing and operating structure was in violation of U.S
anti trust law ; Unable to directly sell any diamonds in U.S market
 De Beers was facing turmoil on all fronts : in western Africa, in Russia,
and in their home state of South Africa
THE START OF DE BEERS
 1866 : Discovery of diamonds in South Africa
 1874 : Cecil Rhodes brought Steam-Powered Pump to South
Africa Mines
 1880 : Rhodes formed the De Beers Mining Company
 By 1887 : He had bought out all the other claim holders
 1890 : Merchant’s association formalized as the “Diamond
Syndicate”
THE DIAMOND CARTEL
 Cecil worked to consolidate the industry
 Kept the supply sharply limited
 Maintained the fragile illusion of their scarcity
 Kept prices as high as possible
 Sorted and classified a large % of the world’s rough stone
 Operated through Central Selling Organization (CSO) in London
- Determined who can buy which stones and
- How much each buyer must pay
CARTEL...

...can be described as uncertain at best, the tendency of companies to slash marketing budgets during a downturn is tried and true. Along with other areas of the company budget, marketing strategies have undoubtedly suffered a severe scaling back due to a flagging economy and anemic consumer spending. Indeed, when a crisis arises, new marketing initiatives — often with a return on investment that is difficult to quantify — are typically some of the first to be struck with that little red pen.
But what about de-marketing strategies? This seemingly counter-intuitive phrase has been making its rounds in banking and other industry circles, with return on investment per customer mattering more than ever. And the strategy is exactly what it sounds like — scaling back marketing efforts, but realizing positive results nonetheless. Whereas the traditional marketing process entails gathering and synthesizing demographic and social forces to identify unfulfilled needs and desires, de-marketing consists of pinpointing which segments of the population would not become fulfilled by the company’s offerings and removing them from your correspondence lists. Or, more simply put, striking unprofitable customers from a portfolio to then divert more resources toward those that really matter to the bottom line.
To answer the question of how to tell when a customer is unprofitable, in their book Competing on Analytics, Thomas Davenport, President’s Distinguished...